Champian Fulton – Flying High: Big Band Canaries Who Soared
“The lives of female band vocalists are usually thought of as glamorous. In fact, bands traveled America by bus – no air conditioning, no amenities; no cell phones. 18 to 20 young men and one woman. After an 8 to 10 hour drive, the singer would make-up and dress up, performing 50 weeks a year…If you got as famous as Peggy Lee, the bus got a little nicer…” (Champian Fulton) Tonight we hear three songbirds offer popular material of the era.
Olivia Chindamo
Australian Olivia Chindamo (accented when she speaks, not when she sings) begins with Peggy Lee’s “I Don’t Know Enough About You.” Chindamo moves infectiously. I imagine there’s appropriate flirt, but between the artist’s eating the mic (we can’t see her face) and that she never zeros in on the audience I can’t be sure. Vocal is bright, piano saucy.
“Sweet Georgia Brown” (Ben Bernie and Maceo Pinkard/ Kenneth Casey) opens with up-tempo bass and high, clip vocal. It was the Anita O’Day version that inspired Chindamo. Following the veteran, this performer delivers first rate scat. Lyrics of “You’ve Changed” (Carl Fischer/Bill Carey) arrive like pulled taffy. Circling brushes and low bass strum create sway rhythm. Otherwise extremely skilled clarinet is too loud/forceful for established mood.
Ekep Nkwelle
Ekep Nkwelle begins with “Social Call” (Gigi Gryce/Jon Hendricks) showcasing insinuation, range, and control. There’s an engaging openness about performance, both sound wise and visually. Fulton’s music twirls and slides with marvelous sensibility. Hands seem to approach piano keys flat out with only slightly bent fingers, yet definition is pristine.
“You Belong to Me” (Chilton Price/Pee Wee King/Redd Stewart) is a stroll, understated, yet sure. Nkwelle’s graceful right hand plays the air as if an instrument. Piano presents hurry-up-and-wait style. “Secret Love” (Sammy Fain/Paul Francis Webster) is buoyed by fleet-fingered bass. Sax loop de loops. Quick tempo is in opposition to tender lyrics, however. A terrific singer in the mold of early Ella Fitzgerald, Nkwelle also barely looks at us.
Klas Lindquist
Champian Fulton’s set begins with a suggestively phrased “Do It Again” (George Gershwin/Buddy DeSylva), very much her own arrangement. Appealing honey tails extend the end of each lyric line. The artist is classy. Vocal and piano are symbiotic, expressing clear intention.
A sophisticated interpretation of Cole Porter’s “It’s Alright with Me” follows slow then brisk. Sax zig-zags like an etch-a-sketch gone wild, short notes careening against melodic axis. Fulton’s fingers move like hummingbird wings. Drums react at 78 rpm. “Just for a Thrill” (Lil Hardin Armstrong/ Do Raye) is a hip-driven amble. Sound is classic 50s; piano cool and bluesy. Fulton rocks gently on the bench. “Thrill” is almost a trill. Eyebrows rise.
The cast returns for a bouncy “I Love Being Here with You” (Peggy Lee/Bill Schluger) Sentiment is entirely believable. These talented women deliver ensemble aesthetic with enthusiasm and authenticity. I’d happily go to a different show by the group.
Musicianship is excellent; Klas Lindquist, off the charts.
Photos by Alix Cohen
Opening: Champian Fulton
Jazz at the Ballroom presents
Champian Fulton – Flying High – Big Band Canaries Who Soared
Champion Fulton – pianist/lead vocalist
Ekep Nkwelle – vocalist; Olivia Chindamo – vocalist
Neal Miner – bass, Charles Ruggerio – drums, Klas Lindquist- sax/clarinet
Birdland
315 West 44th Street
